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Sims Reed Ltd

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L’Armurier de Bordeaux.

PRASSINOS, Mario. Prassinos, Gisèle. 8vo. (215 x 140 mm). Engraved colour frontispiece, additional collage title reproducing the collage for the wrapper and four engraved colour vignettes by Mario Prassinos. Loose in original brown paper wrappers with collage title to front wrapper, brown envelope with manuscript title to front cover. The original maquette for Giselle Prassinos' L'Armurier de Bordeaux. The maquette features extensive annotation on two sets of the text by the author, Giselle, and her brother, Mario, the illustrator. Although the publication for which this is the maquette was never realised, Gisèle Prassinos' L'Armurier de Bordeaux was written as early as 1936 and was eventually published in 1945 in the periodical Les Quatre Vents. Given the advanced state of the maquette - two sets of the text with extensive proofing notes by both Gisèle and Mario Prassinos as well as Mario's tipped-in illustrations in one of the sets - it is unclear why the work remained unpublished in book form, although speculation must centre on the upheaval during the final days of the world war. The short novel relates a rail journey to Bordeaux (it concludes with the line 'Tout le monde descend . ') and the dreams of the various passengers, shown in Mario Prassinos' characteristic illustrations, as they travel through the night and tunnels. Both of the Prassinos siblings were involved with Surrealism from the 1930s onward. Gisèle - who at an early age used an automatic writing technique - was introduced to André Breton and Paul Eluard by Mario. Her first collection of poetry La Sauterelle Arthritique was published in 1935 when she was fourteen under the aegis of Breton. Eluard wrote the forward for the collection and it included a portrait of various surrealists, read to by Gisèle, by Man Ray.
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fluxorchestra at carnegie recital hall sept. 25.

ONO, YOKO. Folded sheet of greenish / yellow paper. (430 x 300 mm). Circular vignette printed 24 times across and down the page (6 x 4) with surrounding text, each vignette also with printed text. An excellent example of the scarce poster / announcement / programme by George Macunias for the fluxorchestra's September 25th, 1965 recital. The programme, designed by Maciunas and making use of the 'Mask' vignette he had used previously for the fluxshop / fluxorchestra manifesto, included works by La Monte Young ('1965 $50'), Yoko Ono's 'Sky piece to Jesus Christ' and '4 pieces for orchestra to La Motte Young', pieces by George Brecht, Chieko Shomi, Shigeko Kubota, Ben Vautier, Tony Cox, Robert Watts, and others. The fluxorchestra, costumed by Robert Watts (also on tuba), featured La Monte Young as conductor, Ayo on trumpet, a string section featuring Tony Cox and Yoko Ono, Jonas Mekas on accordion, 'Samurai Sword' as a special guest (presumably playing on Tony Cox's 'Sword Piece') and so on. 'During Yoko Ono's 'Sky Piece to Jesus Christ' (1965), at Carnegie Recital Hall, in New York, N.Y., members of the Fluxorchestra were wrapped in gauze as they performed. Eventually they were no longer able to operate as a unified body. When all the music was stilled, the musicians, bound together, left the stage together.' (Encyclopedia Britannica). We can locate examples at the Walker Art Center, Detroit Institute of Arts, National Gallery of Victoria and Northwestern; a note for the Northwestern copy indicates it was folded to form a paper airplane. A note fror the Fondazione Bonotto suggets that it was the flyer - similar to the present sheet but without the surrounding text - that was used to make the airplanes that formed part of the performance.
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New York Dada.

DUCHAMP & MAN RAY. Folio. (366 x 254 mm). Single sheet of smooth tan paper folded in four with printing to upper cover only in red (724 x 504 mm unfolded), the sheet with wear to edges, split at folds and with minor water staining at lower left. Loose as issued in original wrapper with red printed text 'new york dada april 1921' inverted and repeated over whole cover and around central vignette with printed reproduction in red of 'Belle Haleine: Eau de Violette'. The Marcel Duchamp work executed by Man Ray, signed and dated by Man Ray in pencil and inscribed 'Dada'. Examples of the single issue 'New York Dada' magazine are now exceedingly rare and this cover represents a remarkable survival. Printed on very fragile newsprint paper, this copy is inscribed in pencil with a large and bold 'Dada' and is also designated (at lower right) 'Copy # 1' and is dated 'April 1921'. This cover was designed by Marcel Duchamp but was executed by Man Ray and features at centre, Man Ray's photo of Duchamp's modified ready-made 'Belle Haleine: Eau de Violette' (Beautiful Breath, Veil Water), a bottle of perfume having as its label a photo of Duchamp dressed as Rrose Selavy, the whole printed in orange against a background composed of the words 'new york dada april 1921' printed upside down and repeated endlessly top to bottom. As Tzara introduced his review Dada in Zurich, related activities were taking place in New York. Not unlike Zurich, New York had become a refuge for European artists seeking to escape the war. For artists such as Marcel Duchamp and Francis Picabia, the American city presented great potential and artistic opportunity. Soon after arriving there in 1915, Duchamp and Picabia met the American artist Man Ray, and by 1916, the three men had become the centre of radical anti-art activities in New York. The appearance of 'New York Dada' (April 1921) ironically marked the beginning of the end of Dada in New York. Created by Duchamp and Man Ray, the magazine for which this is the cover would be the only New York journal that would claim itself to be Dada, a claim that Man Ray took up and inscribed here in bold pencil letters over a large section. Wishing to incorporate 'dada' in the title of this new magazine, Man Ray and Duchamp sought authorisation from Tzara for use of the word. In response to their tongue-in-cheek request Tzara replied, 'You ask for authorization to name your periodical Dada. But Dada belongs to everybody'. In addition to printing Tzara's response in its entirety, this first and only issue featured this cover designed by Duchamp and executed by Man Ray. As with so many self-published artistic journals, 'New York Dada' was neither distributed nor sold, but circulated among friends with the hope that it would generate a following. 'New York Dada', however, was unable to ignite any further interest in dada and by the end of 1921, dada came to an end in New York and both Man Ray and Duchamp departed for Paris. [Schwarz 390; see Schwarz 386 - 389; Schwarz Bibliography 17; Ades 2.51 (reprint)].
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La Belle en Dormant.

MARCOUSSIS, Louis. Hugnet, Georges. 8vo. (192 x 148 mm). [38 leaves; pp. 66, (i), (i)]. Half-title with 'Du Même Auteur' verso, leaf with original monochrome etching by Louis Marcoussis verso as frontispiece, printed title with copyright verso, leaf with dedication, inserted leaf with '' by Hugnet and Hugnet's verse, final leaf with justification. Full tan calf by Daniel-Henri Mercher with his signature and dated 1994, front and rear boards with onlaid sections of abstract-shaped mauve calf with black striation over turquoise silk with a floral décor, smooth spine with direct title in turquoise and magenta, turquoise silk floral doublures, matching watered silk endpapers, original printed yellow wrappers and backstrip with titles preserved, tan calf-backed turquoise paper board chemise with titles to spine and matching slipcase. An excellent copy of the édition de tête bound by Mercher and with Marcoussis' original frontispiece. From the edition limited to 510 numbered copies, with this one of 10 from the édition de tête on Japon Ancien signed in black ink by Georges Hugnet and with the original etching as frontispiece by Louis Marcoussis. Also included tipped-in to the blank following the printed dedication is a poem by Georges Hugnet. Executed in black ink the poem is not included in 'La Belle en Dormant': 'Mémoire, je viens boire à la source / où s'abreurent de jeunes géographies. / Les dentelles perdues reviennent ceindre / la cuisse de la femme oeil de chat. / Pays aux noms inoubliés, je vous apprends / si je veux savoir d'où je viens. / Une pioche oubliée à l'origine d'une plainte, / un écho qui cherche une parole à travers l'absence, j'attrape au vol ce qui se continue. / La poésie vient en dormant. Et toi?' Also included, tipped-in to the final blank, is the folded subscription sheet for the book.
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Les Conjurés.

ASSE, Geneviève. Borges, Jorge Luis, (Silvia Baron Supervielle, Trans.). Large 8vo. (280 x 190 mm). [30 leaves + additional inserted leaf with painting]. Half-title, printed title, leaf with Borges' 'Inscription', leaf with Borges' 'Prologue' dated ''9 janvier 1985' recto and first poem verso and Borges' verse illustrated with 10 original pochoir illustrations (11 including the wrapper) in scarlet ink after her original paintings (one is on a trifolium with text on the left and right hand leaves, a central illustration and a further illustration on the folding leaf with a tear as issued to allow the image beneath to bleed through), leaf with copyright verso, final leaf with achevé d'imprimer and justification', a final inserted leaf includes an original signed oil painting - as called for - by Asse; sheet size: 276 x 180 mm. Text and illustration mounted on guards throughout. Book and maquette printed on vélin d'Arches. Full scarlet polished calf by Monique Mathieu with her signature in blind and dated 1992, front and rear boards with asymmetric excision with additional onlays of patterned morocco (or lizardskin?), front board with onlaid section of calf bisectin the lower section of the board and additional onlais section tinted lizardskin at upper right, bisected spine with additional olaid fillet and title in blind, matching doublures, grey brushed suede endpapers, original publisher's plain wrappers with pochoir illustration in red to front cover and backstrip preserved, matching grey suede-lined scarlet calf-backed chemise with spine to match that of book with titles in grey and matching scarlet calf-edged grey paper board slipcase. A superb copy of the édition de tête of Geneviève Asse's 'Les Conjurés' with an original signed painting on paper and bound by Monique Mathieu together with the original maquette for the book with all of Asse's original paintings including several trials and an unused painting. From the edition limited to 120 numbered copies illustrated with 11 pochoirs, signed by Asse and Supervielle in pencil, with this one of the first 20 copies including a signed 'huile sur papier' by Asse; an additional 12 hors commerce copies numbered in Roman numerals were also issued for the 'collaborateurs'. Asse's original 'huile sur papier' painting is a single brush stroke in scarlet paint to the centre of a leaf (272 x 160 mm) and is signed at lower right by Asse in pencil; the verso is annotated 'Huile sur papier G. A. / les conjurés'. 'Les Conjurés', Borges? (1899 - 1986) final verse collection was published in Spanish as ?Los Conjurados? (?The Conspirators? in English) in the year before his death. The collection features 40 poems and prose poems by Borges (the 'Inscription' and the 'Prologue' aside). ?Le livre ?Les Conjurés?, de Borges, a été entièrement rehaussé de pochoirs rouges, ce qui n?est pas commun chez moi. J?eus le désir d?accompagner ses dernier poèmes d?une sorte de fulguration, en m?inspirant du ?Chant des Morts?, ce livre unique, admirable, où le poème de Reverdy, calligraphié de sam main, est traversées rouge sang de Picasso.? (Asse quoted by Marie-France Quignard, 2002). 'Rouge pour le livre de Borges . un format moyen, plutôt étroit, et un caractère typographique classique dont le but véritable était de se faire oublier afin de privilégier la lecture . Les pochoirs réalisés . traduisent merveilleusement les onze huiles rouges faites par Geneviève Asse . Traits plus ou moins épais, bordures plus ou moins larges, plus ou moins intenses. Pas de monochromie. Du velouté, de la brume de rouge, des tressaillements, des irrégularités délibérées dans le tracé . '. (Marie-Françoise Quignard). ?From the 1980s onwards, red regularly finds its way into her [Asse?s] paintings in the form of fleeting lines following the slashes of light cut into the walls of blue or occasionally outlining their edges. Unlike the whites, however, red never truly challenges the supremacy of the blues. In all the artist?s work, with the noteworthy exception of eleven monochrome stencils designed in 1990 as illustrations to ?Les Conjurés? (The Conspirators) by Jorgé Luis Borgès 11, it is only in the sketchbooks and leporelli that the reds are allowed such a degree of freedom.? (Christian Briend). The original maquette, with all of Asse?s eleven original paintings for the illustration, reproduced in pochoir for the book, is a remarkable document of her process, creative thought and engagement with Borges? verse. This maquette includes all of the final versions of the eleven paintings for reproduction, together with an additional original painting, and several of those paintings that were used feature additional trials and versions verso. It is clear from a close comparison of this maquette and the published book that only those pages that included illustrations had not been finalised at the time the maquette was produced, the absence of any bifolia without illustration in the present maquette indicating that this was the final specimen; if a complete ?bon à tirer? version was produced it would have included the illustrations in their pochoir version. The maquette also presents a remarkable window into Asse?s personal philosophy vis à vis her use of colour and its interaction - in this case a rare use by her of red, inspired directly by Picasso?s use of the same for Reverdy?s ?Le Chant des Morts? published by Tériade in 1948 - with the blank page and the printed text. If Asse was inspired by Picasso?s illumination for Reverdy?s poem, her work is certainly in no way derivative and the book is indubitably, even if sui generis, her own. As stated above, this maquette includes all of Asse?s paintings for the book as well as a final highly finished work that was never used but is entirely in keeping with the corpus of illustration. Full details of the maquette are available on request. [Miessner / Quignard XVIII; Mason 323 - 333; see ?Geneviève Asse: La Pointe de l?Oeil? by Marie-Françoise Quignard, 2002, pp. 37 - 38; see ?Peindre en Carnets? by Christian Briend, 2013
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Al-Qur’an Al-Karim.

QUR'AN / KORAN. 8vo. (175 x 120 mm). [2 blank leaves, 323 leaves, 2 blank leaves]. First leaf verso and second leaf recto with 'Bismillah' and opening, seven lines in black ink in naskh script with diacritics in red within triple-framed compartments, gilt foliate decoration against a lapis background above and beneath containing gilt cartouches with sura headings and verse counts in white tawqi', the margins with decorative work in blue, and 323 leaves with manuscript text in black ink in naskh, 13 lines per page within triple rules in gilt, black and blue with catchwords, verse divisions (and corrections) marked with circular gilt motif throughout with sura headings and marginal hizb and juz' divisions in gilt, final leaf verso with gilt flecking and colophon. Manuscript text in Arabic on burnished laid paper throughout with numerous cancels in gilt, occasional marginal and interlinear corrections, occasional additions, some staining and soiling. Contemporary dark chocolate morocco with flap, boards with gilt decorative frame borders to surround elaborate gilt decorative arabesque stamped panels with central arabesque and cornerpieces with floral decoration, red morocco doublures ruled in gilt with central floral vignettes. A complete 16th-century Ottoman manuscript Qur'an, the elegant production of Hasan ibn 'Abdallah. This small and unusual Qur'an, very likely intended for the personal use of the calligrapher, Hasan ibn 'Abdallah, epitomises the restrained elegance of the scribal ateliers of contemporary Istanbul and the continuing influence of the master, Sheikh Hamdullah. The lack of an inscription, seal or attribution, in combination with the small format and simplicity of the present work suggest that it was produced by the calligrapher for personal use. Although no Hasan ibn 'Abdallah is recorded in 'Manaqib-i hunar waran' (Epic Deeds of Artists, the earliest survey of Ottoman calligraphers, painters, illuminators and so on), a Hasan ibn 'Abdallah is known to have illuminated two Qur'ans copied by Sheikh Hamdullah in the early years of the century. While a long period of time separates the Sheikh Hamdallah associated Hasan ibn 'Abdallah and the scribe for the present copy, several distinctive features suggest it is not implausible that this Qur'an is the work of the same individual: an uncommonly large number of cancels feature in the text - all carefully corrected with liquid gold - although the manuscript is by no means slovenly. The earlier Hasan ibn 'Abdallah is known to have been both a diligent editor and an error-prone copyist and the argument that a novice or apprentice would lavish (or be permitted to!) such an amount of gold on his text bears no weight. That the manuscript is the work of an elderly scribe, enacting a very personal virtuous devotion to his religion toward the end of his life, is rather more plausible.
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La Belle Dame sans Merci.

ERAGNY PRESS). Keats, John. 12mo. (80 x 110 mm). [20 leaves + tipped-in errata leaf; pp.xxviii, (1), (1)]. Hlaf-title with printed title in red and black within patterned frame and with vignette verso, six leaves with Keats' verse, leaf with explanatory text, six leaves with an alternate version of Keats' verse, leaf with colophon and final leaf with justification; opening of each version with large decorative initial in red and elaborate frame in red, printed text throughout in red and black with decorative text ornaments. Original publisher's blue paper-backed patterned paper-covered boards with white label with printed title to upper cover. An excellent copy of the Eragny Press edition of Keats' 'La Belle Dame Sans Merci' with its variant. From the edition limited to 210 copies. The two versions of 'La Belle Dame Sans Merci' printed here feature differences and 'variations [that] are very considerable'. Buxton Forman, whose explanation is printed in the book, thought that 'the 'Indicator' version is a revision of the other' and that an unpublished manuscript version was the source. With a letter from Lucien and Esther Pissarro to Harold Pierce of Philadelphia asking him to return the copy as ' . we have discovered a serious mistake in the title page. We have started to reprint and the binders will insert the corrected page. If you will kindly return your copy . '. The mistake was in the date on the title but this copy of the book was not returned but has a erratum page.